A young man rides an apartment building's elevator up, but another man has opened an upper floor elevator door with a knife, stopping the elevator, then jumps on the roof of the elevator, ...
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A young man rides an apartment building's elevator up, but another man has opened an upper floor elevator door with a knife, stopping the elevator, then jumps on the roof of the elevator, opens the escape door, and shoots the young man. After the murder Edie's friend Lynn Martel, also a nightclub singer, begins to drink uncontrollably. Edie asks Peter Gunn to help Lynn out, and Gunn discovers that Lynn's club is controlled by mobsters. Written by
As a favor to Edie, Pete investigates murder of Edie's fellow lounge singer Lynn Martel (Lawson). Not surprisingly, Pete encounters some well-dressed thugs and a kingpin.
Okay entry, but nothing special, unless seeing a torch singer that isn't Edie counts. Can't help noticing these early episodes are more dramatic and conventional than the later ones. Here the forlorn Lynn gets an extended emotional scene grieving over her murdered boyfriend. Later entries would largely trade emotional drama and convention for greater style and exotica, which would come to separate the series from the pack. However, one distinguishing mark from the outset, including here, is the opening hook that grabs the viewer right away. The elevator trap door trick is an imaginative one. All in all, however, it's a strictly average entry.
(In passingcan't help noticing after years of movie and TV watching that the surest way of determining whether a city street is actual or a back-lot set is to see whether it's cut off on one end by another street. When it is, that's almost assuredly a back-lot set, as it is here.)
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